1000+ images about Vivienne Westwood & Malcolm Mclaren on Pinterest | Teddy boys, Vivienne westwood shop and Vivienne westwood Vintage Vivienne Westwood / Malcolm McLaren / Sex Pistols / Seditionaries era vintage Tshirt by SeditionariesInTheUK on Etsy See More THE FILTH & THE FASHION | VIVIENNE WESTWOOD’S ’70s SEX RAG REVOLUTION | The Selvedge Yard THE FILTH & THE FASHION | VIVIENNE WESTWOOD’S ’70s SEX RAG REVOLUTION * Jordan-– the sassy sado SEX clerk that would accomodate your purchase at the King’s Road Boutique. * * Malcolm McLaren gets a lot of credit for carefully crafting The Sex Pistols’ schtick, sound, and look. His real-life partner and cohort in concocting, not only the look of The Sex Pistols, but the Punk movement at large was, as we all know– Dame Vivienne Westwood.

Her tartan bondage suits, leather studs, and shocking tees (I won’t get into the naughty bits) were the, eh-hem, uniform for the 1970’s punk movement that lashed-out against hygiene, authority, rules, corporate rock, and mainstream society as a whole. It was a cultural correction– a necessary reset that would inspire and create great music, art, and fashion to this day. It was quite a scene back then, with no shortage of characters in the Malcolm/Westwood mix– The Sex Pistols of course, as well as Siouxsie Sioux, and Chrissie Hynde, among others… oh, and of course Jordan. Oh my. * * (Lt.) Jordan stands seductively in front of the King’s Road SEX boutique. (Rt.) McLaren & Westwood. * * McLaren & Westwood’s SEX boutique on King’s Road in Chelsea started out in ’71 as a small record shop where McLaren and a friend peddled vinyl, magazines and rock memorabilia.

It soon grew into Let It Rock– a hip “Teddy Boy” shop that sold used, as well as new fashions (designed by Malcolm’s school teacher gal-pal Westwood), that soon became all the rage for their creepers & pegged pants. It changed fashion direction in ’72 and was renamed Too Fast To Live, Too Young To Die until 1974, when it once again got a facelift. Christened with 4 ft. tall hot pink foam letters mounted directly to the graffiti-covered storefront spelling-out the new shop’s namesake– SEX carried innovative and provocative fashions designed by Vivienne Westwood, as well as authentic bondage & fetish gear– creating a look called Punk. The list of names that frequented and/or worked at SEX reads like a “who’s who” of early Punk Rock history. Punk now had a name, a sound, and finally– an official shop, which would soon spawn imitators (BOY) ready to cash-in. * The infamous SEX boutique of Malcolm McLaren & Vivienne Westwood on King’s Road, Chelsea. via * * Jordan– the sassy sado SEX clerk that would accomodate your purchase at the King’s Road Boutique.

* April 12, 1977, London, — Vivienne Westwood (in plaid). — Image by © Condé Nast Archive/Corbis 1978 — Sex Pistols’ singer Johnny Rotten on stage performing. — Image by © Lynn Goldsmith/Corbis * The Punk Rock icon — God Save The Queen * 1978 — Sex Pistols Performing in Concert in Westwood-wear — Image by © Lynn Goldsmith/Corbis * Anglomania– Vivienne Westwood installation shown at The Metropolitan Museum of Art. via * The Sex Pistols –Oslo, 1977 * Siouxsie Sioux in infamous Vivienne Westwood tees. I spy Billy Idol. * Punk’s Jacket, 1977 — Image by © Hulton-Deutsch Collection/CORBIS * * Pic of BOY storefront on King’s Road — a shop that soon popped-up to cash-in on the success of SEX. * * Pic from BOY catalog (King’s Road) — a shop that soon popped-up to cash-in on the success of SEX.

* * Pic from BOY catalog (King’s Road) — a shop that soon popped-up to cash-in on the success of SEX. * Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style | Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art The Metropolitan Museum of Art Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style See works of art Works of Art (5) Essay Vivienne Westwood was born Vivienne Isabel Swire in Glossop, Derbyshire, in 1941 and has come to be known as one of the most influential British fashion designers of the twentieth century. While she is latterly credited with introducing “underwear as outerwear,” reviving the corset, and inventing the “mini-crini,”1 her earliest and most formative association is with the subcultural fashion and youth movement known as punk.2 Mother of Punk Vivienne Westwood is often cited as punk’s creator, but the complex genesis of punk is also found in England’s depressed economic and sociopolitical conditions of the mid-1970s.

Punk was as much a youthful reaction against older generations, considered oppressive and outdated, as a product of the newly recognized and influential youth culture. Creative and entrepreneurial people, such as Westwood, often contribute to an aesthetic that brings a subcultural style to the forefront of fashion. However, it would be simplistic to claim, as many have, that Westwood and her one-time partner Malcolm McClaren were uniquely responsible for the visual construction of punk in the mid-1970s, though much of their work captured and commodified the energy and iconoclastic tendencies of the movement.3 The New York Effect In the early 1970s, the socioeconomics of New York City were no better than London’s. Local rock groups were reinventing music and style in protest against what had become perceived as the star-centered, showy, and elitist mentality of ’60s super-groups such as the Rolling Stones and the Beatles. These local bands, such as the New York Dolls and performer Richard Hell, were breaking down barriers at the infamous proto-punk club, Max’s.

Hell was well known for his nihilistic lyrics and wearing of self-styled ripped T-shirts bearing slogans like “Please Kill Me.” The original fanzine of the era, PUNK, was published in New York City and is credited with the first use of the term. Malcolm McLaren, Westwood’s boyfriend and “partner in crime,” was living in New York during this time and briefly managed the New York Dolls. According to punk lore, McLaren took this radical New York aesthetic back to London, where he opened the SEX clothing shop with Westwood and managed the Sex Pistols, creating a media frenzy and a prosperous symbiotic relationship between music and fashion that effectively set the tone of popular culture for decades to come. Anarchy in the U.K. Westwood, a former schoolteacher, was the seamstress in the SEX shop partnership with McLaren and made manifest their combined punk vision through her creations. Westwood designed both her and McLaren’s clothing before they opened their first store, Let It Rock, in 1971. Let It Rock catered to the “Teddy Boy” subculture, which was a 1950s revival look.

In 1972, they renamed the store Too Fast to Live, Too Young to Die, and changed the focus to emphasize the emergence of the Marlon Brando-influenced rocker/biker style that was popular at the time. In 1974, they again changed the name of the shop to reflect McLaren’s new shock tactics, this time to SEX, where they sold S&M (sado-masochistic) inspired clothing, met the Sex Pistols, and added their punk line, Seditionaries,4 in 1976.5 SEX was the center of the punk fashion scene and many young punks hung out, worked, or bought clothes there when they could afford them. Shrewd entrepreneurs, Westwood and McLaren were instrumental in defining and marketing the punk look at the precise moment that it was taking the streets of London by storm. Rotten, Vicious Fashion Childhood friends Johnny Rotten and Sid Vicious claim names that evoke the true essence of punk. The Sex Pistols, their short-lived and infamous band, changed the face of music and gave voice to a disenfranchised generation.

The Sex Pistols were working-class, antagonistic, innovative teenagers turned “punk” before it had a name.6 The clothing popularized by the Sex Pistols could be seen as a reaction against, as well as the culmination of, a long line of proscribed postwar British subcultural styles, including mods, skinheads, rastas, and rudies. The Sex Pistols needed a manager to guide them and McLaren and Westwood needed an outlet for their ideas, both fashionable and political. To this day, there is much debate about whether McLaren was the architect of punk ideology.

A known Situationist,7 McLaren supposedly created the Sex Pistols solely as a marketing tool for the SEX shop, but singer Johnny Rotten disputes this, emphasizing that the band existed prior to the collaboration with Westwood and McClaren but were used as models for the ideal punk look through their stage clothes often supplied by SEX.8 Deconstructing Punk Punk was trash culture gone avant-garde and/or the avant-garde gone trash, and just as Dada had tried to destroy the institution of art, so the punks seemed bent on destroying the very institution of fashion.9 Philosopher Jacques Derrida’s concept of “deconstruction,” a term used to describe the process of uncovering the multiplicity of meanings in text, has been used to analyze everything from modern art to architecture. As applied to fashion, deconstruction has come to imply a decoding of both meaning and designer intent, as well as a descriptive term for certain structural characteristics.

The punk look has come to be associated with clothing that has been destroyed, has been put back together, is inside out, is unfinished, or is deteriorating.10 Punk was an early manifestation of deconstructionist fashion, which is an important component of late twentieth-century postmodern style and continues to be seen in the work of contemporary fashion designers such as Rei Kawakubo and Martin Margiela. “A Nightmare of Interchangeable Surfaces”11 The definition of postmodern is elusive, but its connection to punk ideology and style appears intrinsic: On the one hand, to designate oneself as “post” anything, is to admit a certain exhaustion, diminution or decay. Someone who inhabits a post-culture is a late comer to a party … Belatedness may also imply a certain dependence, for the post-culture cannot even define itself in any free-standing way, but is condemned to the parasitic prolongation of some vanished cultural achievement.12 Many scholars see this incessant atavism, this self-referential bricolage, as precisely what defines the postmodern, a term frequently used to describe the designs of Vivienne Westwood and punk fashion in general.

The do-it-yourself attitude of punk styling was a unique product of a particular sociocultural history after which, during the 1980s and ’90s, global style continued to evolve along the same aesthetic trajectory. Other elements that have recently been associated with the postmodern mode include clothing and imagery that appear dirty, ripped, scarred, shocking, spectacular, cruel, traumatized, sick, or alienating13—all of these were qualities actively sought by Vivienne Westwood and the punks of the 1970s. Postmodernism = No Future Punk was both a product and a victim of late capitalism. As the most quickly digested of all previous youth subcultures, it came to fruition and fell victim to mass marketing in less than three years.14 Since then, punk has never entirely gone out of style. Soon after the Sex Pistols disbanded in 1978, one could see punks everywhere in London, the U.S., and elsewhere. One still sees flamboyant teenagers wearing bondage trousers and studded leather motorcycle jackets on streets such as St. Marks Place in New York City, where these garments are still sold in quantity.

Punk has even taken more than one turn at being an inspiration for haute couture . In the twenty-first century, punk and hip-hop, another subcultural style born of strife, have been fused together into what has become the standard look for contemporary youth. The Costume Institute’s collection of Vivienne Westwood’s early work pays homage to punk’s influence and situates historically these authentic garments of a subcultural style that has few rivals in its continued influence on Western fashion’s mavericks. 1 A Victorian-inspired short hooped skirt. 2 “Punk: A British subculture of the mid-1970s epitomized by the look and attitude of The Sex Pistols. The style most often associated with Punk involves bondage trousers worn with ripped T-shirts with anarchic slogans and boots. Hair and make-up was an integral part of Punk—hair was dyed violently bright colours and made to stand up on end, and facial piercing (particularly cheeks and noses) became popular.” Amy de la Haye and Cathie Dingwall, Surfers, Soulies, Skinheads & Skaters (New York: Overlook Press, 1996), p. 13.

3 Christopher Breward, The Culture of Fashion (Manchester: Manchester University Press, 1995), p. 233. 4 “Sedition: The stirring up of discontent, resistance, or rebellion against the government in power; revolt or rebellion.” Webster’s New World College Dictionary, Third Edition (New York: Macmillan, 1988), p. 1214. Vivienne Westwood: “The word ‘seditionaries’ … has always meant to me the necessity to seduce people into revolt.” Chester, Lewis. Mother of Punk in “Hot Air”, UK (1998), p. 62. 5 At the end of the 1970s, the name of the shop became World’s End, after the London neighborhood in which it is located. 6 John Gray, a longtime childhood friend: “Even in those days John had the green hair and wore a baseball cap from back to front. He wore baggy army trousers and a T-shirt with holes.” John Lydon, Rotten: No Irish, No Blacks, No Dogs (New York: Picador, 1994), p. 39.

7 “A quasi-anarchistic group formed in Paris in 1957, a political evolution from the avant-garde ideas of Dada and Surrealism earlier in the century. The aim of their political philosophy was to re-empower the proletariat, whose lives were summed up in the Situationist slogan: metro-boulot-TV-dodo (subway-work-TV-sleep). They felt that in what they dubbed the Society of the Spectacle people had turned into consumers of mediated events, mediated ideas and mediated actions, and that their role was to challenge that enforced passivity by breaking down the barriers between direct and mediated experience. The artist depicting situations and feelings was merely colluding with the forces that created the Society of the Spectacle. The role of the artists, as they saw it, was to create challenging situations.” Nils Stevenson, Vacant: A Diary of the Punk Years, 1976–1979 (New York: Thames & Hudson, 1999), p. 8. 8 Lydon, Rotten, p. 70. 9 Elizabeth Wilson, Bohemians: The Glamorous Outcasts (New Brunswick, N.J.: Rutgers University Press, 2000), p.

173. 10 These are characteristics that are easily seen in extant Seditionaries garments featured in the holdings of The Costume Institute. 11 Steven Connor, Postmodernist Culture: An Introduction to Theories of the Contemporary, 2d ed. (Oxford: Blackwell, 1997), p. 216. 12 Ibid., p. 65. 13 For an exhaustive and inspired exploration of these aspects of late twentieth-century fashion, see Caroline Evans, Fashion at the Edge: Spectacle, Modernity, and Deathliness (New Haven: Yale University Press, 2003). 14 Today the turnaround of the process of acculturation is much shorter, ostensibly due to the speed of our media and our postmodern appetite for the new; so much so that subcultures may not even be recognized as such before they are scooped up and sold as the “next big thing.” Philosophers such as Jean-François Lyotard see this as the method by which the “Establishment” controls subversion and thereby retains control. This would help to explain why punk was absorbed and resold so quickly, effectively stripping it of its power and meaning.

The style and antagonistic actions of the punks challenged the status quo of 1970s England in an overt way as no movement has had the opportunity to do since. Shannon Price The Costume Institute, The Metropolitan Museum of Art October 2004 Citation Price, Shannon. “Vivienne Westwood (born 1941) and the Postmodern Legacy of Punk Style.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (October 2004) Further Reading Vermorel, Fred. Fashion & Perversity: A Life of Vivienne Westwood and the Sixties Laid Bare. London: Bloomsbury, 1996. Wilcox, Claire. Vivienne Westwood. London: V&A Publications, 2004.

Related Malcolm McLaren obituary | Music | The Guardian Malcolm McLaren obituary Manager of the Sex Pistols and a pivotal influence on late 20th-century pop culture Malcolm McLaren changed the face of British music when he managed the Sex Pistols Photograph: Dylan Martinez/Reuters Thursday 8 April 2010 20.09 EDT First published on Thursday 8 April 2010 20.09 EDT Share on Messenger Close The impresario and iconoclast Malcolm McLaren , who has died aged 64 from the cancer mesothelioma, was one of the pivotal, yet most divisive influences on the styles and sounds of late 20th-century popular culture. He was best known as the manager of the Sex Pistols, the punk-rock band that swept the UK in 1977, their anti-establishment youth force making a colourful counterpoint to the Queen's silver jubilee. With his first partner, the designer Vivienne Westwood, he popularised looks from punk to fetish, which still dominate the fashion world.

McLaren's provocative influence can be detected in everything from Damien Hirst's art and contrary bands such as the Libertines and Oasis to the mainstream punk clothes on sale in Top Shop. The claim by the journalist Julie Burchill that "we are all children of Thatcher and McLaren" was not that fanciful. McLaren's partner, Young Kim, likened him to Andy Warhol, describing him as the ultimate postmodern artist: "I think Malcolm recognised he had changed the culture, he saw he had changed the world." Mythical wheezes, such as a Pistols-era plan to visit Madame Tussauds and melt the wax effigies of the Beatles, were typical of McLaren's tendency to blur fantasy and reality and turn hype into an art form. His talent was perhaps not so much in coming up with ideas as seizing on other people's and making them more successful. He was one of the first Europeans to spot the potential of American hip-hop, and his 1982 hit single Buffalo Gals introduced the art of scratching to the British charts.

The former Sex Pistols singer John Lydon (aka Johnny Rotten), who fell out with McLaren before quitting the band in 1978, described him as the most evil man on Earth for his tendency to treat people like art projects or cash cows. McLaren revelled in this svengali image, casting himself as The Embezzler in the punk film The Great Rock'n'Roll Swindle (1980). But those who knew him described a polite, dapper English gentleman who loved art, music and clothes with a passion – he was fond of tweed suits and Doctor Who-style scarves – and had an almost childlike enthusiasm for his projects and pranks. His death has melted one of music's most bitter feuds. "For me, Malc was always entertaining," Lydon said. "Above all else, he was an entertainer." McLaren was born in Stoke Newington, north London, the son of Pete, a Scottish engineer, and his wife, Emmy.

His father left home when he was two and Malcolm was raised by his grandmother, Rose, who home-schooled him and fed him slogans such as "it's good to be bad and it's bad to be good", along with a general distaste for the royal family. He attended various art colleges in the 1960s, including Central Saint Martins and Harrow Art School. He was influenced by the French situationist movement, and at Harrow he met his muse, Westwood (with whom he lost his virginity), and Jamie Reid, the graphic artist who later designed the artwork for the Sex Pistols' record covers. He was expelled from South East Essex college and also studied at Chiswick Polytechnic and Goldsmiths College, London. By 1971, McLaren was seeking to "rescue fashion from commodification by the establishment", as he later put it. With Westwood, he opened a boutique on Kings Road in Chelsea, south-west London, called Let It Rock (later renamed Too Fast to Live, Too Young to Die), selling then unfashionable Teddy Boy clothing.

After a trip to New York in 1972, McLaren's career in music management began with the camp/aggressive glam band the New York Dolls. Supplying the group with stagewear and using a hammer and sickle logo to promote them, he developed the shock tactics he used to far greater effect later with the Pistols. By 1975, the shop had transformed into a subversive S&M boutique called Sex (later Seditionaries), and McLaren was putting together another band lineup with three of his customers, Steve Jones, Paul Cook and Glen Matlock. When Lydon walked in, sporting green hair and an "I hate Pink Floyd" T-shirt, they found their frontman. McLaren came up with the Sex Pistols name (he wanted something that sounded like "sexy young assassins"), and together they took on the torpor of mid-1970s British pop. Wearing safety-pinned Westwood gear and bondage trousers, the Pistols played on a boat on the Thames (it was raided by the police), took God Save the Queen to No 2 in jubilee week, teased huge sums out of successive record companies and were banned from playing by local councils.

An infamous, swearword-laden TV interview with Bill Grundy led to tabloid headlines such as "the filth and the fury", and their position as the most controversial, rebellious British pop group was assured, assisted by John Beverley (Sid Vicious), who joined in 1977. He later died of a heroin overdose while awaiting trial for the murder of his girlfriend, Nancy Spungen. The band fell apart in early 1978, later suing McLaren for mismanagement and royalties, but the svengali simply stated that he planned their demise and used this claim as the plot for The Great Rock'n'Roll Swindle. McLaren's eye – as much as his ear – for pop talent was crucial. He once told a Ramones fan, Vic Godard, and his pals, "you look like a group", so they formed one called Subway Sect. His gift for turning notoriety into a promotional tool (inherited from the Rolling Stones manager Andrew Loog Oldham and surely passed on to Factory Records' Tony Wilson and Creation's Alan McGee) loomed equally large in his next project.

McLaren was recruited as a consultant by Adam Ant and suggested that the singer adopt what would become his internationally successful pop look. However, he was less convinced by Ant's musical merits, and coaxed his band members into forming a new group, Bow Wow Wow, which would be led by a 13-year-old girl whom McLaren met at a dry cleaners and renamed Annabella Lwin. When Lwin posed nude in a mock-up of a Manet painting on a record sleeve, widespread tabloid outrage followed. However, the rejigged Ants trounced Bow Wow Wow commercially. McLaren was resilient. His next project, 1983's Duck Rock album, included the top 10 hits Double Dutch and Buffalo Gals, the latter cited by Herbie Hancock as the inspiration for his own influential electro single, Rockit. McLaren scored another hit with one of his most audacious experiments, the 1984 single Madam Butterfly, a mix of opera and electronics. McLaren's Midas touch came and went throughout his career, but ideas never left him.

He blended funk and orchestra on the 1989 album Waltz Darling and recorded the 1994 concept album Paris, which featured Catherine Deneuve. He wrote a song for Quentin Tarantino's film Kill Bill Vol 2 (2004), and secured a Hollywood deal as an ideas man for Steven Spielberg. He even became an outspoken critic of the burger industry by co-producing the 2006 film Fast Food Nation. He also channelled his bittersweet view of London into programmes for Radio 2 and Channel 4, but cancelled a plan to run for mayor of London in 2000. McLaren also managed forgotten groups, such as the Chinese punk-rock band Wild Strawberries. Later concepts such as Jungk (an Asian girl band) and 8-bit music (electronic music performed by old computer games), may or may not prove to have been ahead of their time. But McLaren was never troubled by the idea of failure. He once said that he had been greatly influenced by an art teacher who told him: "We will all be failures. But at least be a magnificent, noble failure.

Anyone can be a benign success." He is survived by Young Kim and his son by Westwood, Joe Corré, who set up the lingerie chain Agent Provocateur, which continues to parade McLaren's own risque and somehow thoroughly English identity in our high streets. • Malcolm Robert Andrew McLaren, impresario, born 22 January 1946; died 8 April 2010 Tim Jonze wonders if there'll ever be another figure quite so controversial as former Sex Pistols manager Malcolm McLaren Published: 9 Apr 2010 Sex Pistols manager who revolutionised popular culture and bought anarchy to the UK dies in Switzerland Published: 8 Apr 2010 Malcolm McLaren, who died on 8 April 2010, managed the Sex Pistols and was synonymous with the punk movement Published: 8 Apr 2010 Alan McGee: The former Sex Pistols manager was a punk-rock visionary and true inspiration. But when I suggested he run for mayor of London, even I didn't think he'd go for it ...

Published: 9 Apr 2010 1000+ images about Vivienne Westwood on Pinterest | Vivienne westwood, Punk and Johnny rotten Vivienne Westwood (British, born 1941). I groaned, 1976. British. The Metropolitan Museum of Art, New York. Purchase, Richard Martin Bequest and Friends of The Costume Institute Gifts, 2006 (2006.253.6) #punkfashion More 1000+ images about vivienne westwood 1970's on Pinterest | Pistols, Peter pan shirt and Search Vivienne Westwood (British, born 1941). Cowboys, 1974. Desinger: Malcolm McLaren (British, 1946–2010). British. The Metropolitan Museum of Art, New York.

Purchase, Richard Martin Bequest and Friends of The Costume Institute Gifts, 2006 (2006.253.8) #punkfashion See more Sex Pistols manager Malcolm McLaren dies - Telegraph Music news Sex Pistols manager Malcolm McLaren dies Malcolm McLaren, the former manager of the Sex Pistols and the man hailed as the godfather of punk, has died from cancer. He was 64. By Anita Singh , Showbusiness Editor 9:19PM BST 08 Apr 2010 Follow McLaren died in a Swiss hospital, his girlfriend Young Kim said. He was diagnosed with mesothelioma, a form of cancer, some time ago but had not made the news public. He had travelled to New York in February for the launch of an art book before returning to Switzerland for treatment. Miss Kim said: "He passed away at a hospital in Switzerland where he was being treated for cancer. "Malcolm McLaren was a man who changed the world and is a lasting influence." His agent, Les Molloy, said: "He had been suffering from cancer for some time, but recently had been full of health, then rapidly deteriorated. It’s a sad day.

Related Articles Malcolm McLaren has died: are there any anarchic eccentrics left in Britain? 09 Apr 2010 "We are expecting his body to be brought back to London and buried in Highgate Cemetery, one of his final wishes.” McLaren's influence on the music industry cannot be under-estimated, Mr Molloy said. "Without Malcolm McLaren, the punk movement wouldn’t have exploded in the way that it did.” McLaren first made his name in 1971 when he opened a fashion boutique on the Kings Road in Chelsea with his partner, the designer Vivienne Westwood. With his unerring eye for publicity, he renamed the shop Sex. In 1975, he spotted a young punk called John Lydon who regularly hung around outside the shop. McLaren signed him up as the frontman of the fledging punk band he managed and the Sex Pistols were born. When the band released God Save The Queen during the Queen’s Silver Jubilee in 1977, they became one of the most notorious acts in British music history. McLaren continued to work in the music industry after the Sex Pistols broke up, and retained his love of publicity stunts.

In 1999 he offered to stand as Mayor of London. Three years ago, he was a contestants on I’m A Celebrity... Get Me Out Of Here!, but walked out after one day. He and Westwood had a son, Joe Corre, founder of the lingerie label Agent Provocateur. He and Miss Kim, a Korean-American fashion historian, split their time between Paris and New York. Music journalist Jon Savage, who wrote England’s Dreaming, the award-winning history of the Sex Pistols and punk, said: “Without Malcolm McLaren there would not have been any British punk. “He’s one of the rare individuals who had a huge impact on the cultural and social life of this nation.” Mark Borkowski, who used to represent McLaren, said: "He was a showman extraordinaire. He knew how to create the news." Malcolm McLaren - Telegraph Music Obituaries Malcolm McLaren Malcolm McLaren, who has died aged 64, came to public attention in 1976 as the manager of the Sex Pistols, the punk band which he steered to fame and notoriety before their implosion barely two years later.

Malcolm McLaren, the former manager of punk band the Sex Pistols Photo: PA 8:54PM BST 08 Apr 2010 Comments Presenting himself as svengali and arch media manipulator, McLaren went on to create and promote other bands such as Bow Wow Wow, wrote an opera, appeared on television as a pundit on the phenomenon of punk, and considered running, in 2000, as a candidate for mayor of London. He once said: “I am a product of the Sixties. All I have ever felt is disruptive — I don’t know any other way.” The son of a Scottish engineer, Malcolm McLaren was born on January 22 1946 in Stoke Newington, London. He was brought up by his maternal grandmother, Rose, who encouraged in him a subversive spirit. At school he developed a talent for manipulating his class-mates, on one occasion luring them to a rubbish tip and making them get into a large cardboard box he had saved in order that they could be his “Box Gang”. At 18 he went to Harrow Art School, where he lost his virginity to a talented designer five years his senior called Vivienne Westwood.

He also met Jamie Reid, who would later create the Sex Pistols’ provocative and influential graphics. In the late Sixties, McLaren drifted through several art colleges, immersing himself in the writings of the Situationist International (SI), the French provocateurs whose new media practices included manifestos, broadsheets, pranks and disinformation; and he loitered on the fringes of King Mob, an SI splinter group. Related Articles Malcolm McLaren has died: are there any anarchic eccentrics left in Britain? 09 Apr 2010 For an unfinished film made while still at art college, he wrote a manifesto which would sum up the underpinnings of punk: “Be childish. Be irresponsible. Be disrespectful. Be everything this society hates.” In 1971, with Vivienne Westwood (who by now had had a child by him), McLaren opened a boutique at 430 King’s Road in Chelsea. At first called Let It Rock, and then Too Fast to Live Too Young to Die, the shop sold then-unfashionable 1950s Teddy Boy drapes and crêpe-soled shoes to a new generation.

By 1974 the shop, now renamed Sex, and later Seditionaries, was selling Vivienne Westwood’s proto-punk bondage gear and t-shirts printed with lettrist-inspired slogans. Run with the help of Jordan, a girl from the suburbs who favoured S&M gear, the shop was a hangout for a cast of young, bored and frustrated misfits, among them Steve Jones, Paul Cook and Glen Matlock. In 1975 McLaren went to New York, where he became obsessed by the New York Dolls, a glam-metal male band who performed live in high heels, Lurex tights and make-up, though in an aggressive style which would make them influential to punks. Led by the singer David JoHansen and guitarist Johnny Thunders, the Dolls were the toast of the city’s underground scene, having just signed a record deal. McLaren soon talked his way into becoming the band’s manager.

His first move, the better to shock bourgeois Americans, was to put the Dolls into Maoist Red Guard outfits and have them play in front of a hammer and sickle flag; but New York was unimpressed by the band’s new image and, disillusioned by the sudden downturn in their fortunes, Thunders and the drummer, Jerry Nolan, quit soon afterwards. Undeterred, McLaren returned to London, intent on creating a band in the way that the Fifties manager Larry Parnes had moulded such stars as Billy Fury and Marty Wilde. When Steve Jones pestered him to find a rehearsal room for his band, McLaren did so; and with the addition as lead singer of John Lydon, another denizen of Sex, rechristened Johnny Rotten for the state of his teeth, the Sex Pistols were born. After the demise of the Sex Pistols, McLaren continued to put out unreleased material by the band, until the aptly-named Flogging A Dead Horse album of 1979. The band sued McLaren in 1986 for royalties, eventually receiving £1 million in an out of court settlement.

In 1979, McLaren was invited to provide a new image for the band Adam and the Ants. For a consultancy fee of £1,000, he came up with a combination of American Indian and pirate garb, before suggesting to the band’s guitarist and rhythm section that they abandon their singer, Adam Ant, and join a new group McLaren was forming called Bow Wow Wow. With 14-year old Annabella Lwin on vocals, Bow Wow Wow released the single C30, C60, C90, Go (1980), a driving, Burundi-influenced paean to home taping composed by McLaren. This was followed by the cassette-only EP, Your Cassette Pet. Bow Wow Wow’s powerful and innovative sound was eventually rewarded by Top 10 hits with Go Wild in the Country and I Want Candy; but after a number of publicity stunts, including a photograph of Annabella Lwin semi-nude with the band in an album-sleeve pastiche of Manet’s Déjeuner sur l’Herbe, the band folded in 1983.

That year, McLaren made his own recording debut, Duck Rock, a collection of songs based on “field recordings” made in Africa and incorporating New York’s fast-growing hip-hop style, exemplified by rappers The World’s Famous Supreme Team. Although he was accused of plagiarism at the time, McLaren’s appropriation of musical styles from around the world would soon be much imitated. The album included the Top 10 hits Buffalo Gals (the first British record to feature scratching) and the quirky Double Dutch. After releasing Would Ya Like More Scratchin’ (1984), McLaren then turned his attention to opera, producing the hit single Madame Butterfly and the album Fans (1985). Other albums mixing hip-hop and ethnic rhythms followed. In the Nineties McLaren moved into television, producing commercials and, in 1991, a poorly received Christmas show, The Ghosts of Oxford Street, which featured The Pogues, Tom Jones and the Happy Mondays. He returned to recording in 1993, signing to the French label Vogue and releasing an album, Paris, which gained poor reviews. In 1998 he attempted unsuccessfully to launch a group named Jungk, consisting of five beautiful Chinese girls.

McLaren co-produced for the film adaptation of Fast Food Nation, shown in 2006 at the Cannes Film Festival, and in the same year presented the documentary series Malcolm McLaren's Musical Map of London for BBC Radio 2. This was followed in 2007 by Malcolm McLaren's Life and Times in LA. Also in 2007, he was due to appear in a reality television show for ITV, The Baron, which had to be postponed owing to the death of his fellow contestant Mike Reid. He was later due to appear in a series of I'm a Celebrity... Get Me Out of Here!, set in the Australian outback, but pulled out at the last moment. Malcolm McLaren’s son by Vivienne Westwood, Joe Corré, became proprietor of the successful lingerie shop Agent Provocateur.

Question: Which fashion designer opened a boutique with Malcolm McClaren, and was at the forefront of 'punk' fashion in 1971?
Answer: Vivienne Westwood